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In this article, we profile the advertising activities and deception levels of the top 2012 spending independent expenditure groups that focused on the presidential contest. From December 1, 2011, through Election Day, November 6, 2012, independent expenditure groups spent more than $360 million on presidential television advertising, according to Kantar Media CMAG. More than a fifth of the dollars spent by the top groups purchased ads containing at least one claim judged as misleading by independent fact checkers. The proportion of dollars that these groups spent on ads containing at least one deception was much greater during the primaries than afterward. During the primaries, the pro-Romney super PAC "Restore Our Future" led the pack both in dollars spent on ads containing at least one deception and in the proportion of its ads found deceptive by the fact checkers. During the general election, in the post-primary period, the pro-Obama super PAC "Priorities USA Action" devoted the most dollars and greatest proportion of its total dollars to ads in which fact checkers found at least one deceptive claim. During some but not all of the 2012 election year, the percentage of third party ads containing at least one deceptive claim was higher among those groups not required to disclose their donors than it was among those required to do so.

The work of Michelangelo Antonioni is considered as trailblazing and as a paradigmatic expression of modernism in cinema. Even today it has an impact on film style and holds a key place in the history of film art. In my contribution I discuss and enlarge upon these interpretations of his work in the context of the political character of his aesthetics. The political in his films, my thesis suggests, is found in the aesthetic experience which becomes possible by means of his films. Antonioni has created a dissensual cinema in which can be found the aesthetic truth of cinema, the ambiguity of dumb and ephemeral things, the texture of the world as it is. His cinema makes real the transition from the representative fiction of the plot to the aesthetic fiction of the signs. Wong Kar-wai has followed him in this. Both design sensual landscapes of the surface of the world which have broken the straight line between cause and effect and are defined by aesthetic affect. Adapted from the source document.

Much of the focus on the closure of the News of the World in 2011 was in the context of the newspaper as a national publication in the United Kingdom. The News of the World, however, had a significant history in Ireland. This article focuses on one aspect of that history culminating in the banning of the newspaper in 1930 at a time when it was the best selling title in the Irish market. The prohibition followed an almost two decade campaign against 'dirty' publications led by the Catholic Church and its supporters so as to safeguard sexual morality in Ireland against 'alien' influences. Understanding the rationale for targeting the News of the World and other popular British newspapers is central to fully considering the censorship campaign as well as the work of the government-appointed Committee on Evil Literature in 1927. Given the emboldened outlook of the Catholic Church following independence from the United Kingdom in 1922 the highly effective censorship campaign met little public or political resistance despite the popularity of the News of the World. Along with offering a deeper understanding of this specific censorship campaign against the press, this article also explores the role of British newspapers beyond their core domestic market.

This article suggests that the vitality of genre, and particularly music genre, is often missing from social and cultural research. This is despite its central presence as a structural force within increasingly popular forms of field analysis. To deal with this absence, the article draws upon conceptual material on everyday forms of classification and new forms of digital data. It is argued that the concept of a classificatory imagination might be used to develop a more contingent and transient vision of genre as a form of everyday cultural classification or as a structuring force in cultural fields. The article describes three problems facing cultural sociology in its use of genre categories. Two are briefly presented whilst the third is developed through a case study of hip hop. The article concludes with some reflections upon what this reveals about cultural boundary drawing and the impact of decentralized media upon genre formation.